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Gombrich’s use of the term ‘illusion’ also points back to a much earlier tradition of enquiry, finding an important counterpart in Plato’s characterization of art as a ‘semblance’ or ‘phantasm’. 4 The very facility with which these skills are now deployed prevents us from recognizing that they were acquired only through a lengthy process of study and investigation. Because we stand at the end of this process, it is easy for us to assume that these hard-won techniques have always been available and that anyone who seeks to record what she sees by making marks on paper will follow the same self-evident methods of representation.

For not only does Plato refuse any role to art in the ascent to ‘pure beauty’, he expressly denies that artists can represent or be guided by ideal forms. In book X of the Republic, he raises the question, ‘To which is painting directed in every case, to the imitation of reality as it is or of appearance as it appears? ’40 As we have seen, his unequivocal answer is that painting belongs to the realm of appearances and that it leads us away from rather than towards true knowledge. Nonetheless, Plato’s theory of ideas, heavily mediated through the writings of Plotinus and the Neo-Platonists, was refashioned by later philosophers and art theorists, who promoted the contrary view that through divine inspiration artists are granted direct access to the realm of ideal forms.

36 The concept of mimˉesis – although frequently rendered as imitation – cannot be understood in terms of a simple doubling or mirroring of the original. The question at issue is how this moment of difference is to be characterized. As we have seen, Plato’s search for the ‘principle of truth’ that applies to images is guided by the belief that truth resides in the correspondence or identity between two things. As a result, he interprets the non-identity between an artwork and its model in nature as a misrepresentation: an imitation is always less than the thing that it imitates.